*Vicki*

I am going to start bringing over all the cut scenes I have stored on Alien Encounters. I am going to just post all of them here even if they don't have Max in them. [img]smilies/smile.gif[/img]

[ 02-04-2004: Message edited *Vicki* ]

*Vicki*

DEPARTURE

Here is the cut Jeep scene from Departure!

EXT. CRASHDOWN CAFE - NIGHT
Max and Liz sit out front in the Jeep. They face forward. No matter what divisions there are between them now, they are both faced with having to say good-bye to each other and it's making them both think about what they still feel for each other. Max removes the Pendant from his pocket. (The Pendant from their planet they found in Season One.)

Max: I always thought when we graduated I'd give you my ring. It looks like I won't graduate so... This is something from... where I'll be.

Liz: (quiet, sad) I don't need anything to remember you, Max. I need something to forget you.

Max: Please.

She takes the pendant. Holds it in her hands, looks at it.

Liz: (quiet, sad) I can't believe that this is what I of you. I can't believe it. After everything.

Max looks at her, he just has to know:

Max: Liz, you never slept with Kyle, did you?

There's a long pause. If she's not going to tell him now, then when. She begins to tell him the story, she speaks simply without anger.

Liz: You came to me, Max. You came back from the future.

Max: What are you talking about?

Liz: You showed up from fourteen years in the future to tell me the survival of the world depended on you and Tess getting together. That I had gotten in the way.

Max takes this in...

Liz: (cont'd) In this other life. This life that will never happen. We got married. We eloped to Vegas when we were nineteen.

Max: That vision I had of us married in Vegas --

Liz: Was real. Yeah. Anyway, I had to find a way to get you to stop loving me, Max.

Max looks at her, destroyed.

Liz: (cont'd) And it was impossible. You were like this stubborn mule. Finally, I arranged for you to see me and Kyle together. It was the only way I could think to get you to move forward with Tess. (beat) I guess it worked.

Max: Oh my God... Liz...

But there's nothing else for him to say...

Max: (cont'd) I wish... I wish this all could have been different. I wish that so much.

Max looks in her eyes, she looks at him. Something comes through in this look.

The love that got all this started to begin with. Max just moves in and kisses her. They kiss, deeply, soulfully and we

FLASH FLASH-- Images of Max and Liz. The gamut of emotions they have been through. He heals her. Points his finger "North". Their first kiss. Jumping off the bridge and running for their lives. He sees her with Kyle. Dancing in Vegas.

They break apart. Look at each other.

Liz: I guess this is good-bye.

A silence fills the Jeep. She knows she has to get out of there.

Liz: Just tell me one thing. Do you love her?

There's a long beat, then:

Max: Not like I love you.

Her eyes well up. There's nothing left to say. She gets out of the Jeep and he watches her as she disappears into the Crashdown. When she's gone, he breaks down.

*Vicki*

DEPARTURE

ACT ONE

Scene 4

EXT. VALENTI HOUSE - DAY

Start on a hand tapping in a distinct rhythm. Pull back to reveal this is AMY who taps on her coffee cup as VALENTI works on a trailer. He looks at AMY, vaguely annoyed.

VALENTI: You're doing it again. The tapping.

AMY: I am not.

Amy stops tapping.

VALENTI: Sure you're not nervous about something?

AMY: No.

The Jeep pulls up. Max and Tess jump out. Michael and Isabel wait.

MAX: Sheriff, I need to talk to you.

Amy stands for a moment then, getting it --

AMY: I'll go get a refill.

She exits. Max looks at Tess.

MAX: I'll talk to him. Go rest.

Tess exits into the house. Max takes a beat then just launches onto it.

MAX(cont'd): Tess is pregnant. With my child.

VALENTI What?!

MAX: Sheriff --

VALENTI: You've got to be kidding. Tess is living her under my roof. She is a seventeen year old --

MAX(cutting him off):He's dying. Our son is dying. The fetus can't survive on Earth. We found a way to go home. You know, home. We're leaving tomorrow morning.

Valenti just takes this in for a minute.

VALENTI: Max, slow down a second.

MAX: There's someone out there. An Alien. She killed Alex.

VALENTI: She killed Alex? I thought --

MAX: There's no time to explain now.
(beat)
Sheriff, I can't express to you how much you've helped us. Now I need you to do one more thing for me. I have to find her. Alex's murderer. And I need you to take care of Tess until I get back. She's....weak.

VALENTI: Yeah...Of course.

MAX: Thank you.

They walk into the house:

Scene 5

INT. TESS' ROOM - CONTINOUS

Max enters. Tess looks terrified, sits on a chair.

MAX: You should lie down.

TESS: I think I'm losing my powers. I couldn't flip the CD on from across the room. I do it every day of my life without a second thought. What's happening to me?

MAX: It will be okay.

TESS: Max. I've been thinking...what if you didn't go.

MAX: I'll be back before dawn.

TESS: No. I mean, home.

MAX: What are you talking about?

Tess grows thoughtful.

TESS: Nothing, just Leanna's out there and...

MAX: I'll find Leanna. Don't worry.

TESS: (sadly) Right.

He's about to leave, remembers this is essentially his wife now. He moves to her and kisses her good-bye. On Tess -- having a flash(we don't need to see this, just the white flashes and sound effects). She looks at Max, distraught.

TESS(cont'd): I don't believe it.

MAX: What?

TESS: After all this. After all that's happened between us. You're still thinking about Liz.

Max shakes his head, no, but of course she's right. He also can't stop to have this conversation.

MAX: I have to go.

Max picks up Tess' cellphone.

MAX: I'll take this. Call me if anything happens. Anything at all.

He exits, hold on Tess, looking in the direction he just exited.

Scene 6

EXT VALENTI HOUSE - DAY (MOMENTS LATER)

Isabel and Michael wait in the Jeep. Max comes out of the door, breaks into a run, jumps in and hits the gas. The Jeep screeches out.

Scene 7

INT. JEEP - SAME

Michael, Isabel and Max.

MICHAEL: Has anyone considered the fact that we're not going back to Pleasantville? Our world is at war.

MAX: We'll be okay.

Isabel: Max, what does this all mean?

Max turns, faces her. Michael listens.

Isabel(cont'd): What will we look like? What will our lives be like? Will we be able to taste food? Will we have feelings -- joy, sadness, hope... Will we feel anything?

On Michael, silently wondering the same thing.

MAX: Isabel, I know you're scared. I'm scared too. But we belong there. (then) We always knew this day would come.

There's another beat then:

Isabel: What will we tell Mom and Dad?

MAX: (beat) I don't know.

On Max, the thoughts of this pains him.

*Vicki*

DESTINY

MAX: You were just trying to stop him. I know you didn't mean to kill him.

MICHAEL: That's just it, Maxwell. I did want to kill him. That's all I could think of. And then it just... happened. (beat) What kind of person does that make me?

MAX: We would have died if hadn't been for you.

MICHAEL: Bottom line, Maxwell. I kill people, you heal them. You're good, I'm bad.

MAX: That's not true, Michael.

MICHAEL: It's me, I'm not safe. Whatever I can do now, I can't control it. Look what I did to Pierce. I'm not going to take any chances with you. I don't want you to be around for what happens next.

MARIA: Don't do this to me, Michael. You need me now, more than you ever have before.

MICHAEL: I don't need anybody.

MARIA: Maybe I do, have you ever thought of that? Max and Liz, they can't bear to be separated. But you, you're ready to just throw me away. Why, Michael, why?

MICHAEL (blurting it out): Maybe because I love you too much. Have you ever thought of that?

MICHAEL (cont'd): Goodbye.

MARIA (simply): I just hope you find what you're looking for. (fighting emotion) Because I don't think you realize what you're giving up.



Here is how these scenes aired:

MAX: You were just trying to stop him. I know you didn't mean to kill him.

MICHAEL: But that's just it. I wanted to kill him. I mean, that's all that I could think about. I wanted him dead. Knowing that, I just did it. It just happened. What kind of person does that make me?

MAX: We would have been dead if you didn't help us.

MICHAEL: No! The bottom line Maxwell, I kill people. I kill people, you heal them. (Maria walks over) You're good, and I'm bad.

MAX: It's not true, Michael.

MICHAEL: Just get out of here.

MARIA: What are you talking about?

MICHAEL: It's not safe.

MARIA: It's never been safe. What difference does it make now?

MICHAEL: No, I'm not safe. All right, I mean, I can do these things that I can't control. Look at what I did to Pierce. I'm not going to take that chance with you. I don't want you to be around for what's going to happen.

MARIA: Wait. Don't do this to me Michael, please. You need me now, more than you have before, alright?

MICHAEL: No, I don't need anyone.

MARIA: Well, maybe I do. Did you ever think of that? I mean, look at Max and Liz. They can't bear to be separated. But you, you can just throw me away. Just like that. Why is that, Michael? Why?

MICHAEL: Maybe because I love you too much. Goodbye.

*Vicki*

DESTINY

[i] Thanks to LTF and Behrfanny for helping me get this put together!

Here's the Destiny Van scene with some parts that they cut out! As always....I think they should've left them in!

************************************

LIZ: So everything Nasedo told me was true. You and Tess were meant to be together.

LIZ: So everything Nasedo told me is true. You and Tess were meant to be toge

MAX: Liz.

MAX: Liz, I'm sorry.

LIZ: I mean, it's your destiny, right?

LIZ: You don't have to be sorry. I mean, it's your destiny.

MAX: I wish I could go back Liz. Back to when things were normal.

MAX: That's not what I'm sorry for. I'm sorry for all the time I wasted before we ever got together. For every time I stopped myself from just coming up to you and saying hi. I wish I could go back, Liz. Back to when things were normal.

LIZ: Me, too. I just wish that I could have stopped you from saving my life that day in the CrashDown.

LIZ: Me, too. I wish we could go back so I could stop you from saving me that day in the Crashdown.

MAX: Don't say that.

MAX: Don't say that.

LIZ: Max, the day that you saved my life, your life just ended.

LIZ: It's when all this started. When you were exposed. We've just been buying time since then, haven't we? The day you saved my life, your life ended.

MAX: No, that was the day my life began. Liz, when I was in that room, and they did what they did to me. You're what kept me alive. The thought of you. The way your eyes look into mine. Your smile. The touch of your skin. Your lips. Knowing you has made me human. Whether I die tomorrow or fifty years from now, my destiny is the same: it's you. I want to be with you, Liz. I love you.

MAX: No. That was the day my life began.

LIZ: I wish I could believe that.

MAX: Liz, when I was in that room. When they did... what they did to me. You were what kept me alive. The thought of you. The way your eyes look into mine. Your smile. The touch of your skin. Your lips. Knowing you has made me... Human.

LIZ: But that's not your destiny, is it? To be human.

MAX: I'm choosing my destiny. Whether I die tomorrow or fifty years from now, my destiny is the same. It's you. I want to be with you, Liz. I love you.

LIZ: I love you. (They kiss.)

LIZ: I love you, too.

*Vicki*

MONSTERS

***Thanks to MyAh for typing this up. [img]smilies/biggrin.gif[/img] ***

INT. TOPOLSKY'S OFFICE

A SERIES OF JUMP CUTS, where several students answer the question "Why don't you start by telling me what your dream job would be?" asked by Topolsky.
Cont'd...

ALEX: That's a very interesting question. Do you always ask it first?
ISABEL: Supermodel

RED HAIRED GIRL: Can I say lawyer without you thinking I'm a bad person?

MARIA: Like I have any skills...

Scene continues...

Con'td...
TOPOLSKY: That's fantastic. Now, what job do you think you'll actually have in ten years?

BACK TO THE JUMP CUTS OF THE KIDS

GENOVEVE: Cheese factory, I guess.

KYLE: Houston Astros, left field. Back up plans are for losers.

ISABEL: I usually get what I want.

RED HAIRED GIRL: Cheese factory, maybe in the office part.

ALEX: Excellent follow-up question, very good technique.

MARIA: We could all be dead in ten years.

HEAVY METAL KID: Video store. (beat) No, wait. Cheese factory.

LIZ: Molecular biologist. I'd be too young to be head of research yet, don't you think?

Back to Topolsky. Scene continues...

TOPOLSKY'S OFFICE

TOPOLSKY: Thanks for coming back, Max.

MAX: Sure.

TOPOLSKY: I pulled your file. I hope that's okay.

Max looks at her a bit alarmed.

TOPOLSKY: (cont'd) I was sort of surprised. No clubs, no sports, no after-school activities.

MAX: I'm not a big---

TOPOLSKY: Joiner?

MAX: I guess not.

Topolsky looks at him, nods:

TOPOLSKY: So, that thing we were talking about yesterday. About coming out from behind the trees? Did you try that?

MAX: Sort of .

TOPOLSKY: Great! How'd that go?

MAX: Not well.

TOPOLSKY: Well, you know what they say. If at first you don't succeed..

On Max, thinking about this.

------------------------------------------------------

MONSTERS

INT. CRASHDOWN CAFE (CLOSE ON THE PASS-THROUGH) (DAY)

...where many orders are waiting to be picked up. The cook's hand RINGS the BELL impatiently as Maria rushes up.

MARIA: Cut it out with the bell, okay? I'm like flying solo here.
She takes several plates over to a booth.

CUSTOMER: Miss, may I have some ketchup, please?

MARIA: Over there behind the counter.

CUSTOMER: Why are you the only one here?

MARIA: Because Karen thought her color was purple and Stephanie thought her color was blue and Agnes couldn't read the schedule at all so she just went home.

She rushes over to the register where ARLENE, a tourist, waits with two small children. Her son, COREY, waves around an annoying alien ray gun, shooting at everything.
Scene continues.

Scene cont'd...
ISABEL: I'm going to pay Maria a little visit.

MAX: (a bit alarmed) What kind of visit?
ISABEL: You know, the usual.

Max looks at her, gets what's she talking about. He's concerned.

MAX: Come on, I thought you were going to try and find common ground.

ISABEL: I tried. I ordered fries. Then she practically broke down in front of Valenti.
MAX: You can't just go around walking into people's dreams. Remember when you did it with Mom, she wouldn't go back to sleep for a week.

Scene continues.
------------------------------------------------------

MONSTERS

EXT. WEST ROSWELL HIGH (COURTYARD) (DAY)

Isabel and Max both have bag lunches packed from home. Michael has a can of soda and isn't really interested in anything else but the key he holds in his hand.

MAX: What did you do to Maria?

ISABEL: What did I do?! She's the one who smashed into the Sheriff's car. That girl's an accident waiting to happen.

MAX: Look, Isabel, could you at least make an effort? Think about it. People see movies with aliens. Aliens killing humans, evil aliens, green aliens. If you keep acting that way with Maria, she'll think that's what we are.

Isabel divides their two lunches three ways as she talks. (That was nice of her)

ISABEL: Exactly. The evil alien think can work for us in this situation. The way to deal with DeLuca is to make her sweat. Keep her in her toes. Afraid of my shadow, your shadow, Michael's shadow and her own. Right, Michael?

MICHAEL: (taking a bite of his sandwich) Or we could just kill her. (off Max's look) Kidding.

MAX: (to Michael) Put that key away.

MICHAEL: (putting it in Max's face) You want to know, don't you? You've go the bug.

Michael waves it in front of Max, taunting him:

Scene continues....

Cont’d...

Isabel notices Maria sitting in a classroom.

ISABEL: One more day before she cracks. Tops.

MAX: Just try to find something you have in common with her.

ISABEL: Oh, please. How am I supposed to even talk to her?

MAX: Try something. Order some fries. Start a conversation.

ISABEL: It's impossible. She's irrational.

They all look over at Maria who just happens to glance out the window to find them all staring at her. She gets so nervous she falls out of her chair.

MICHAEL: She is kinda weird.
------------------------------------------------------

INT. CRASHDOWN CAFE (BACK ROOM)

Maria goes back into the cafe through the swinging door, but one second later comes back in, crashing into Liz.

MARIA: You take the front. I should really do that can inventory your father --

LIZ: Maria...

MARIA: (beat) She's out there.

LIZ: Who?

MARIA: Queen Amidala.

Liz looks out, sees Isabel sitting in a booth.

LIZ: Maria, calm down.

Maria takes out a small brown bottle.

MARIA: You see this? Rosemary oil. Very calming. I've been taking a frigging bath in it for a week and all that's happened is that I smell like a leg of a lamb.

LIZ: Listen to me. You've go to control yourself.

MARIA: I'm in control, I'm in control. (then) I'm not. Liz, I have to confide here. I live my life in constant fear of her, moment to moment, knowing each one could be my last. I'm sorry.

LIZ: Look, we're kind of like stuck with each other, the five of us. Can't you just try to be friendly with Isabel? Pretend she's like a cousin that you can't stand but you have to be nice to on the holidays.

Liz stares her down. Maria knows she's right.

MARIA: Sure. Great. Just one big happy family.

She takes a deep breath and heads into....

*Vicki*

FOUR SQUARE

Thanks to MyAh for digging this out for me. [img]smilies/biggrin.gif[/img]

This is a edited scene from FOUR SQUARE! A few lines were deleted instead of the whole scene.

MAX: Michael's done this all his life, you know? Always thinking he knows better than us, but just getting us into more trouble.

LIZ: Families can be hard.

MAX: I don't even know if that's what we are. I mean, that's what we've pretended to be for so long, but what if Nasedo tells us something different? Doesn't Michael even think about these things?

LIZ: You are whom you choose to be, Max. Just like you're with whom you choose to be with.

They look at each other for a beat.

MAX: I really want to believe that.

Then they talk about star charts and stuff.... Later in the same scene:

LIZ: Was it better, Max?

MAX: What?

LIZ: Kissing Tess. Nasedo. Whoever it was. Was it better than kissing me? More powerful? (beat) More important?

MAX: When I kiss you, I feel heaven.

LIZ: (touched) That's not what I asked.

MAX: It was... upsetting. It made me feel things about myself I didn't like. Like there was this whole side of me I never even knew about.

LIZ: The alien side.

MAX: Maybe.

*Vicki*

I Married An Alien


EXT. PARK - DAY
A few hours later, Eric is sitting at a picnic table across from SHARON (50s) a social worker. Eric is making noted on a pad

SHARON: All adoptions and foster records are supposed to be confidential.

ERIC: Look, I won't use your name in the article and I won't quote you directly. I'm just trying to do some background research on Michael Guerin and I was wondering if you could help.

Sharon hesitates, looks away and shakes her head.
SHARON: Guess it was just a matter of time before somebody started asking questions...

Eric tries not to show his building excitement.
ERIC (not as sure as he sounds) Yeah, I mean... c'mon... you knew somebody was going to ask.. right?

SHARON: Right. (sighs) The first incident was in 1989, right after we found him. The county placed him into a foster home that we knew to be a reliable, steady environment. He'd been there less than two days before we got a phone call about... an unusal event.

ERIC: Event...?

SHARON: They said that Michael made the kitchen table levitate off the floor. About three feet off the floor.

ERIC: Go on.

SHARON: They were very religious people and they felt that Michael was... possessed or something so we placed him in another home. But, about a week after that...

ERIC: You got another call?

SHARON: This time, they said Michael got angry and that -- this sounds crazy, I know, but if you'd heard that father's voice on the phone -- they said Michael got angry and melted their television. With his hand.

Eric shakes his head, scribbles furiously.
ERIC: How many more of these... incidents are there?

SHARON: About a dozen.

ERIC: And this is all documented in County records?

SHARON: You think we're gonna put something like that in a government file? There's not a word of it in any of their records.

ERIC: Their records?

SHARON: Michael, Max and Isabel.

Eric freezes, stares at her.

SHARON (CONTD): I mean, granted that Max and Isabel only had the one incident reported, but they were only in one foster home before they were adopted.

ERIC: (stunned) Right...

SHARON: (conspiratorial) You know, they say that psychic phenomena runs in certain families. Well, if you ask me, I think all three of those kids are related.

Eric swallows hard, excitement building....

*Vicki*

Ask Not

OK! Here is a quick scene between Max and Liz. I have always felt the cut something out, because it never really flowed well.


ENTER the cafe. She stops short at the sight of Max and Tess sitting together, then heads fro Maria. Max gets up and intercepts her.

MAX

I need to talk to you.

LIZ

I'm...in a hurry. I have to talk to Maria--


Max pulls her into a private moment anyway.

MAX

You need to hear this. I'm not giving up. I love you.


LIZ

I know, but that's not--

MAX
direct and intense

No. You don't know. You think I'm going to forget about you or just get over it or something. But I'm not. And I'm here to tell you...that I'm coming for you. Liz

He holds her eyes for a moment, then goes back to his booth. Liz stares after him as Maria comes up beside her.

MARIA

Now that is a great MAN!

*Vicki*

ASK NOT

This is the scene after Max has come into the Crashdown to tell the others of Nasedo’s death...

MICHAEL
Okay. We have to get Nasedo to the pod chamber. Use the healing stones to revive him.
(to Max)
Where is he? Max, where’s Nasedo?

MAX
My room...

ISABEL
Your room!

MICHAEL
You left a dead body – an alien body in your room for Mommy and Daddy to find? What the hell’s the matter with you, Max! Where’s your head!

LIZ
Leave him alone.

------------------------------------------------------

EXT ROSWELL BUS STATION

He’s(Kyle)peeling a label off a soda bottle when a Sheriff’s CAR finally pulls up and an apologetic VALENTI gets out.

VALENTI
Welcome home, son!

KYLE
Thanks

He gives his son a handshake and grabs one of the bags as they head for the car.

VALENTI
Sorry I’m late. How did football camp end up?

KYLE
Great. No little green men.

Valenti forces a smile, but he is not comfortable even joking about this out in the open.


------------------------------------------------------

Sometimes what is written in the scripts is more revealing that what aires. Take this scene for instance:

INT STOREROOM – DAY – CONTINUOUS

In a blur of motion, a figure whirls around in the DARK room – there’s a BRIGHT LIGHT EMANATING from his hand! An alien energy burst?

Max instinctively ducks and throws out a hand to ward off whatever seems to be coming at him. As he’s bathed in a REDDISH GLOW from o.c. he closes his eyes and braces himself for the impact.

But nothing happens.

He carefully opens his eyes to see A WALL OF ENERGY a few feet in front of his still outstretched hand. (We should be able to see through the wall. Think of it like a crackling and multi-hued forcefield.)

On the other side of the energy field, sits a teenaged STONER, staring at the iridescent light show while he cradles a joint in one hand and a small lighter-torch in the other.

(Which we now realize was the source of the bright light seemingly reaching out for Max from the darkness.)

Max is shocked -- he had no idea he could do something like this. He pulls his hand back and the field DISAPPEARS. The Stoner blinks a few times...then exhales a cloud of SMOKE. He gives Max a wasted smile.

STONER
Dude. Did you see that?

MAX
See what?


The Stoner blinks again...then gets an even bigger smile on his face.

STONER
(re: joint)
All right...

Max takes a deep breath and steadies himself.

*Vicki*

VIVA LAS VEGAS

Teaser:
INT. MAX's BEDROOM - NIGHT
When Max suggests to Michael they go to school first before skipping out of town.

Michael: Won't make it through a whole friggin' school day.

Max: All right. We'll ditch half way through...

Michael looks at him -- manages to laugh out loud.

Michael: Max Evans decides to ditch school and run away. Gotta love that.

Max: (dry) I'm glad you're pleased. Just give me a little time to cover our tracks and we're outta here, OK?

Continues as aired.

INT. WEST ROSWELL HIGH - DAY
After Isabel asks Michael and Max where they're going.

Max: (re: hair) When did that happen?

Isabel: Ten minutes ago. It was time for a change. Where're you going after fifth period?

Act2:
INT. CASINO - CRAPS TABLE - NIGHT
When Maria is bugging Michael about her audition.

Michael: We had an agreement. Beat it. (flagging a COCKTAIL WAITRESS) Two cokes and a bottle of Tabasco for me and my friend.

EXT. CASINO - NIGHT
Tess and Liz stand outside on the curb after being kicked out by security.

Liz: There's other stuff we can do. Hoover Dam, Cirque de Soliel. I saw a bunch of pamphlets in the lobby.

Tess: Absolutely perfect. (to herself) Stuck in the party capital of the world with Liz Parker.

Liz stops short as she notices a taxi cab pull through the valet stand. Pearches on the roof is an advertisement of the Elvis Chapel. Liz stands there, shaken.

Tess: Maybe if we're feeling dangerous, we can get milkshakes and talk about boys.

LIZ SNAPS

Liz: For your information, Tess, I didn't want to come here in the first place. This is a depressing town filled with sad people. I don't need to see it, Tess. And I certainly don't enjoy being trapped with you either. But a good friend once told me that you have to create your own memories, so we're gonna figure out a way to get back in there and make them, got it?!

Tess is shocked, but impressed.

Tess: Sure.

Act 3:
INT. CASINO - WALKWAY - NIGHT
FOLLOW TWO WOMEN approaching casino floor. Their hair is teased, their dress is suggestive.

Woman #1: How do I look?

Woman #2: Thrity, thirty-two easy. How about me?

We see now that the women are Liz and Tess. They certainly don't look like teenagers anymore. They wear skin tight sequined dresses, obvious purchases from the lobby gift shop.

Tess: You need more color.

Tess touches Liz's lips, and they turn bright RED.

Liz: OK. Big smile. Let's go.

Liz and Tess make a break for the casino floor. Out of nowhere, the same Security Guard steps into their path.

Security Guard: Can I help you ladies?

Liz: We're just meeting our husbands.

Security Guard: Uh-huh. Are you guests of the hotel?

Tess spots TWO GUYS at the bar and winks. They look her up and down and smile back.

Liz: Of course.

Security Guard: And what room are you staying in?

Liz: (not backing down) Two... four... seven. Three.

Security Guard: Hit the bricks, girls. I'm not gonna --

Man: (o.s.) Is there a problem?

The two guys stand behind the Security Guard. Close up, it's easy to tell that they're wiseguys. Meet BRUNO PUGLISI and his cohort JOE. The Security Guard blanches.

Security Guard: No, no problem, Mr. Puglisi. These ladies were just --

Puglisi: These ladies are with us.

Tess: We tried to tell him.

Security Guard: I -- I'm so sorry. They didn't say --

Joe: No harm, no foul. Right, Pugsy?

Puglisi: Right, Joe. Girls? After you.

Throwing smut looks at the Security Guard, Tess and Liz enter the casino in the arms of their mobster dates.

INT. CASINO - BAR - NIGHT
Liz and Tess sit with Puglisi and Joe at the bar. Remnants of food and drinks are in front of them. Joe fills out a Keno card. Puglisi entertains the girls.

Liz: So Pugsy, what do you do?

Puglisi: Human resources, hiring and firing. You know.

Joe throws down his Keno card and belches into his napkin.

Liz: Uh... we though it might be fun to gamble.

Puglisi: We can do that later.

Joe: Yeah. Let's finish our date.

He make date sound like a four letter word. Joe wraps an arm around Tess. The girls feel the changing of the tide.

Liz: Guys, thank you so much for dinner and the stimulating converstaion, but I'm suddenly feeling a little sick, so if you'd excuse --

Puglisi: Hey, Shirley, we've already dropped a cool hundred on you two.

Joe: And we expect that to be credited to our bill.

Liz: Bill?

Puglisi: (leering) You know... for services rendered. So why don't we just head up to the room and get busy.

Puglisi strokes Liz's thigh. She's scared. Big time.

Tess: Liz walk away now.

Liz turns and discovers Tess going into a mindwarp.

Liz gets to her feet. Puglisi stares at Liz's half empty chair and kisses the hand of an imaginary woman.

Puglisi: Oh, yeah. You are so beautiful.

Joe looks at Tess. Thanks to the mindwarp, he thinks she's in the mood.

Joe: That's right. This big boy needs a spanking.

Puglisi: I'd like to show you something, too.

Tess gets up and she and Liz walk away. The two men remain at the bar, talking to two girls who are no longer there.

Liz: How long will this last?

Tess: Long enough.

Liz smacks Joe upside the head.

Joe: Yeah, like that.

Tess: Let's get out of here.

The girls escape.

------------------------------------------------------

Act 3: (cont'd)
INT. HOTEL SUITE - NIGHT
They shot the scene with Isabel and Dave taking a picture together differently than described here.

Isabel joins Dave on the couch. He pulls her close, hold a disposable camera at arm's length, and takes a picture.

Dave: For the wedding album. And for the record, do you spell Brandy with an I or Y?

Isabel: Y.

Dave: Good choice. (then) I don't suppose there's a chance I'll get your real name before the night is over.

Isabel: Are you calling me a liar?

Dave: Oh, no. I'm not going there -- not with you.

Isabel: What's that supposed to mean?

Dave: Let's just say I may not have known you for that long, but I know you're not someone I want to get all riled up.

Isabel: Really. Anything else you've gleaned from our brief time together?

Dave: I have a few thoughts... a few educated guesses...

Isabel: This should be good.

Dave: You're the oldest child in a small family. One or two brothers or sisters -- brothers. Now, you're at Notre Dame, and your studying... art history.

Isabel: Ooh. So close, but so wrong.

Dave: It's not easy, this instant analysis thing.

Isabel: You're from Texas. The panhandle. You have an accent you don't bother to hide because you think it makes you sound sexy. You like to disarm women with an easy grin and a few well-worn psychological insights that sounds like they're culled from talk radio, but in truth you grew up in a house filled with older sisters who wrote more of your material because they felt sorry for you.

Dave: You play rough.

Isable: (sweet) You can always quit. Seek easier game elsewhere.

Dave: Oh, I like it rough. And I like a challenge.

Isabel: Then we're going to get along just fine...

She gives him a teasing, almost smile and as Dave realizes the challenge before him with this girl...

Meanwhile, across the room --

Maria slices herself a gigantic piece of cake. Alex watches.

Alex: You're going to be all right, right?

Maria: I guess.

Alex: Now can I please go gamble?

Maria forks over her stack of cash, and he escapes. The phone RINGS. Maria grabs it.

Then scene continues as aired.

INT. HOTEL SUITE - NIGHT
Before Dave and Isabel dance.

Isabel dips her feet in the jacuzzi. Dave fiddles with the stereo, finds a sexy song.

Isabel: I love this song.

Dave: We never had our dance. You know -- that best man, maid of honor thing.

Isabel: Who are we to thumb our noses at tradition?

Continues as aired.

Same scene. After the deciding kiss of whether or not Isabel should go with Dave to his hotel.

Isabel: (cont'd) OK. I thought about it. Let's go.

He smiles and opens his mouth to say something. She puts a finger on his lips. Dave moves to get his coat. Suddenly, Isabel realizes the weight of her decision. For an instant, she's just a teenager from Roswell again. But before she can fully process this --

Dave returns. He indicates the door with a gallant gesture. Isabel smiles -- her game face back on -- and heads for the door.

Act 4:
EXT. CASINO - WALKWAY - NIGHT
Alternative scene where Max say bye to Liz before going back to Roswell.

Liz is catching up with Max as he heads out the doors.

Liz: Hey -- where are you going?

Max: I'm catching a cab to the airport.

Liz: What happened?

Max: Michael.

Liz: Oh. Well, I'm sure you two can work it out.

Max: I don't think so. Too much stuff was said.

Liz: You know, Maria's pretty convinced that Michael's mouth is in no way connected to his brain.

Max: Don't try to defend him. You weren't there.

Max sees a cab, WHISTLES.

Liz: If you leave... this trip isn't going to be the same.

Max: You'll have a better time without me. I'm a machine that ruins everyone else's good time.

Liz finally gives up. She walks back into the casino. A cab finally pulls up and deposits A YOUNG BRIDE and GROOM onto the sidewalk. The young, happy couple positively run into the casino. Max watches them go by... is about to get in the cab... then looks back...

THE BRIDE & GROOM - SLOW MOTION

Continues as aired.

INT. VEGAS DINNER THEATER - NIGHT
When Isabel tells Alex that she's the biggest freak on the planet.

Alex: No, you're not. That wasn't you. It was Brandy Alexander. You were playing a game, and when things go too real, you ran. Like you --

He stops himself.

Isabel: Like I always do.

Alex: Isabel, you lead a very complicated life. I don't know many people who could handle it. But you do. With grace, and strength, and humor. And if you think you're never gonna find a guy, that's not true. Because when you're ready for it, you'll make someone the happiest man ever.

Isabel: Alex, that's the sweetest thing anyone's ever said to me.

Alex: Well, I'm kind of an expert on things that make you great.

Isabel: How did I let you get away?

Alex: Wasn't your fault. You never had a chance. I can't be tied down to one woman, one place. I'm like the wind, Isabel. I have to keep moving.

She smiles at him and he grins back.

Isabel: Alex, will you dance with me?

Continues as aired.

*Vicki*

END OF THE WORLD

Teaser:
INT. GRANILITH ROOM

Future Max: I'll never see you again.

Future Liz: I know.

F. Max: I don't know how to say goodbye to you.

It hits them both. They hold each other tighter than two people have ever held each other.

F. Max: Thank you.

F. Liz: For what?

F. Max: For every moment. Every kiss. Every smile. I'm just... sorry it... that I... that everything fell apart.

F. Liz: Shhh. I don't have any regrets. I'd do it again in a second.

INT. MADAME VIVIAN's - NIGHT
After she tells Liz that she, Liz, will not be left wanting.

Liz: I don't believe in fortune tellers.

Madame Vivian: All roads have twists and turns, but what I have told you is true.

Liz looks at her, some about this lady seems authentic.

Act1:
INT. GRANILITH ROOM - NEXT DAY
Max, Michael, Isabel and Tess bathed in the otherworldly light. They don't know what it is or why it's there. These days they are just drawn here.

Tess: Maybe we should pool our energy.

Max: Pool our energy?

Tess: If we join hands and concentrate maybe we can make some kind of connection that we can't make on our own.

Max: Is this something Nasedo told you?

Tess: No. It's an original idea. Or isn't that allowed?

Max says nothing but give this no credence. Tess won't let it go.

Tess: (cont'd) Can we at least try it?

Max is silent. Tess looks to the others.

Isabel: I'll try it.

Tess: Michael?

Michael: If it pisses Max off, what the hell.

Tess, Isabel and Michael join hands.

Max: I really don't -

Isabel: Max.

Max takes Isabel's hand and then reluctantly Tess's, completing the circle. They all focus. Max is so uncomfortable holding Tess's hand - being in this proximity to her - after a few seconds Max breaks off. Tess looks at him, stung.

Tess: What are you doing?

Max: It didn't work.

Tess: You didn't give it a chance.

Max: I've got too much on my mind to play ring around the rosy, alright?

Tess: Holding hands is childish, but serenading Liz on her rooftop is crucial to our survival.

Beat. Max looks at her, how does she know about that?

Tess: (cont'd) It's a small town, Max. Sing in Spanish, it gets around.

Max: My relationship with Liz is none of your business.

Tess: It's not that you think joining hands is a bad idea, you just can't stand to touch me.

Max is busted. She's nailed him.

Tess: (con't) I am so out of here. Grow up, Max.

------------------------------------------------------

Act 2:
INT. CRASHDOWN BACK ROOM - NIGHT
Maria is in the back room in her uniform about to start her shift. She puts her street clothes into her locker and stops, noticing the locker next to hers -- a makeshift nametag "Courtney". Curiosity gets the best of her and she opens the flimsy lock with a hair clip.

Maria sifts through Courtney's stuff until she uncovers a surveillance photo of Michael, Isable and Max. Michael's face is circled.

Maria: Oh my God...

Maria grabs a hairclip or some other personal item of Courtney's and heads out the back door.

EXT. CRASHDOWN - NIGHT
While F. Max and Liz spy on Max and Tess, this is the dialogue we missed.

Max: Hey Tess.

Tess: Oh, Max. Hi.

Max: Well, see ya.

Tess: See ya.

Liz: (spying from WHITAKER's OFFICE) Let him go. Let him walk away

Max starts to walk away. Tess pulls up a book and starts reading. Max hesitates.

Max: 'The Grapes of Wrath'? Is that for class?

Tess: No, I just love Steinbeck.

Max: You love John Steinbeck?

Tess: You don't have to look so surprised. I do read, you know.

Max: It's not that, it's just one of my favorite books.

Tess: Really?

Tess goes back to reading.

Max: Ever read, 'Of Mice and Men'?

Tess: Not yet.

Max: It's even better in some ways...

Max sits and keeps talking about the book.

In the office, F. Max grabs the binoculars.

F. Max: He sat down! You got him to sit down with her.

Liz: Rah-rah.

F. Max looks through the binoculars at himself.

F. Max: Oh my God, look at my hair. What was I thinking with those bangs?

Liz: I like the bangs.

F. Max: God, that shirt. I walked around in that same shirt for a year and a half.

Liz: That's the same shirt you wore the day you healed me.

F. Max: I know.

Something happens in this moment - Liz begins to realize this is Max. She begins to see him as Max. And the reverse is also true.

BACK AT THE CRASHDOWN

Tess and Max talk. They laugh about something.

Tess: Oh my God. You are so good at that.

Max: No.

Tess: Come on. Do Michael now.

Max: You won't tell him, right.

Tess: No. Please.

Max becomes Michael - he starts by taking his sideburns and pushes them out - and does an incredible imitation of him.

Max: (as Michael) I'm a rebel, Maxwell. And I have a plan. I'm going to take the Granilith and I'm going to eat it one bite at a time wtih Tabasco sauce. Then I'm going to be silent and moody until something happens. And you're just going to have to deal, because it's how it's gotta be. Maxwell.

Tess cracks up, loving this. Max smiles - he is actually enjoying himself.

The scene goes back to WHITAKER's OFFICE and continues as aired.

Act 4:
INT LIZ's BEDROOM - NIGHT
Liz and Kyle awkwardly in bed.

Liz: So. Any potential girlfriends for Kyle Valenti?

Kyle: (thinking about Tess) Maybe. (beat) So Evans must've really pissed you off to make you resort to something like this.

Liz: I told you I can't talk about why I'm doing this.

Kyle: I just figured since I'm giving you my last shred of dignity.

Liz: I really can't, Kyle.

Kyle: Is it one of those getting the boyfriend jealous so he'll come running back to me things? Or are you just trying to destroy him.

Liz: Kyle...

Kyle: Right.

They lay there for an awkward silent beat, then:

Kyle: So we have something in common.

Liz: What's that?

Kyle: We're the only two people I know of who died and were brought back to life by an alien.

Liz looks at him realizing this.

Liz: That's right.

Kyle: Do you feel different?

Liz: I do. It's hard to put words to it. I feel...

Kyle: Safe.

Liz: Yeah.

They looks at each other realizing they share something.

Kyle: Max stole you from me. And I will never forgive him for that. But the thing that really gets me is I can't truly hate him anymore. He's chaged me.

Liz: Me, too.

Kyle: (realizing) You're not doing this to hurt him, are you?

Liz: No.

Kyle: Good.

Continues as aired.


After F. Max disappears, CLOSE ON:
Tarot cards... The Lovers, The King, The Bride.

Madame Vivian's Voice: This is very unusual.

WE ARE:
INT. MADAME VIVIAN's - NIGHT
Liz and Madame Vivian.

Madame Vivian: Last time you were here your future was so clear. Now I don't get a reading at all. Everything hangs in the balance. I can see nothing.

Liz: It could be a good thing. Maybe Max and I will still get together. I mean, I create my own destiny, right?

Madame Vivian looks at Liz, realizes right now this girl doesn't need a psychic, she needs a friend.

Madame Vivian: You create your own destiny.

As we hear the piano chords of David Gray's "Please Forgive Me" begin we DISSOLVE TO:

EXT. MADAME VIVIAN's - NIGHT
Liz emerges, stands outside, bathed in the red neon light of the word FUTURE blinking on and off. The music swells

*Vicki*

WE ARE FAMILY

Teaser:
INT. VALENTI’S OFFICE – NIGHT
After Valenti and Lubetkin were trying to talk over each other.

Judge Lewis: We had a happy ending, but it could’ve gone another way. Four bodies – two of them honors students – could’ve ended up in that pit. Why didn’t you call for backup, Jim?

Valenti doesn’t have an answer. (Continues as aired)

Act 1:
INT. BIO LAB – DAY
The classroom is doused in blacklight. Mr. Seligman leads the class in a lab experiment.

Mr. Seligman: Deoxyribonucleic acid. Better known as DNA. As you’ve learned in your reading, provided you’ve done it, DNA is a carrier of genetic information in cells. It is the structure by which hereditary traits are passed from parent to child. Put simply, it determines who you are.

Mr. Seligman continues. Find Max and Liz listening on the lecture in the back of the room. Alex is a few tables away.

A door opens in the back of the room, and Michael slips in. Alex notices his entrance, but the rest of the class is busy with their lab assignment and does not.

Mr. Seligman: OK. Let’s start by taking a sample slice from the specimen in front of you.

A glowing mushroom and various petri dishes rest on a tray in front of Max and Liz. Michael sneaks up to Max, hovers next to the desk. He whispers.

Michael: We gotta find that girl, Maxwell. Isabel is sure she’s in danger.

Liz: Did she get another flash?

Michael: It was more like intuition.

Alex steals another glance at their table. He’s too far away to hear what’s going on.

Max: There’s an A.P.B. out on Laurie. What makes you think we could find her if the Sheriff’s Dept. can’t? Besides, that kidnapper is still out there.

Michael: Don’t worry. He’ll never see me. I know how to keep a low profile.

Out of nowhere, Mr. Seligman arrives at their table.

Mr. Seligman: Mr. Guerin, when we inject the DNA from our glowing mushrooms into the bacteria sample, what can we expect to happen?

Michael stands there as if he owns the place.

Mr. Seligman: Time’s up. The DNA will carry traits from one set of cells to another.

Michael: I just wanted to see what the kids were doing in the A.P. classes, Mr. Seligman.

Mr. Seligman: I’ll loan you our textbook for tomorrow’s detention. Goodbye.

Michael leaves, and class rolls on.

EXT. FRAZIER WOODS – DAY
After Valenti tells Michael to go on home.

Michael starts off.

Michael: I wanted to write a letter or something. You know, on your behalf. I just didn’t know if it would do any good.

Valenti: It already did.

Michael goes, and a touched Valenti gets back to work.

Act 2:
INT. VALENTI HOUSE – HALLWAY – NIGHT
After Isabel knocks on the bedroom door and told Laurie it was OK to come out.

Max: Shouldn’t she be with the police, or back in the hospital?

Isabel: She told Valenti she was kidnapped by something that wasn’t human. After seeing those crystals that Michael found, he’s thinking of believing her. (Continues as aired)

EXT. ROSWELL STREET – NIGHT
After Duff told Valenti that their arrangement is over.

Duff: (to Hanson) Arrest this man.

Hanson pulls out his cuffs but can barely approach Valenti.

Hanson: Sheriff, I’m sorry.

Valenti: She gave you an order, Deputy. Follow it.

Off Valenti, as things go from bad to worse.

Act 3:
EXT. LIZ’S ROOFTOP – NIGHT
When Alex teases Liz about her and Sean.

Liz: I can assure you; there was absolutely no twinkle. Besides, there’s too much going on with Max, and Isabel, and Michael to think about anything like that.

Alex: So, are you and Max back together?

Liz: Call it a holding pattern. (Continues as aired)

INT. CRASHDOWN – NIGHT
When Max and Isabel couldn’t believe Valenti was fired.

Michael: Believe it. That moron Hanson is acting Sheriff until they can appoint someone new. (Continues as aired)

Before Kyle leaves, after dropping the bag of crystals.

Kyle: (to Max) Everyone you touch suffers.

Act 4:
INT. EVANS HOUSE – MAX’s BEDROOM – NIGHT
While Max looks through the microscope and examines the crystals.

Perched on the edge of the desk, the crystals begin to seep through the bag, as if they’re eating through the plastic. The kids don’t see this.

Max: They’re pulstating. Like they’re alive.

Isabel: Look out!

Isabel notices the crystals. They have eaten through the bag and are about to fall to the floor. She grabs for the crystals, catches them in her bare hands, and is hit with a series of flashes – blood, chromosomes, etc. We’ve seen these flashes before (TS&P), but there’s another component. Flashes of a little girl (a young Laurie) playing with a yo-yo. The montage moves faster, and we see our Laurie Dupree. Awkward. Skittish. She rides a bicycle. Poses before a mirror in a formal dress. Looks at her reflection and screams.

Isabel snaps out of the flash. Max grabs an empty drinking glass, and Isabel drops the crystals into it. She gasps for breath.

Max: What happened?

Isabel: I flashed to the same things I saw when I touched Laurie for the first time. Blood cells. Biological stuff.

Michael: How do you know they belong to her?

Isabel: She was in the flashes, too. Trust me, Michael. I saw it. Those crystals are Laurie Dupree.

INT. JETTA – NIGHT

Amy: I’m sorry about your boots.

Valenti: They’ll dry.

Amy: I shouldn’t have gotten us so close to that ski boat. But I was right. There were no lines.

Valenti: It was fun. Thanks.

They shift in their seats, like two kids back from a first date.

Valenti: (cont’d) I haven’t had that in a long time. Fun, I mean.

Amy: Well, I’m glad, Jim. (Continues as aired)

EXT. VALENTI HOUSE – NIGHT
Valenti approaches the back porch. He’s flush from the magic of the evening. As he unlocks the door, Max steps out from the shadows.

Max: Sheriff.

Valenti: What’s wrong?

Max reaches into his jacket pocket and produces Valenti’s badge.

Max: This is yours. I stole it back.

Valenti: Max, thank you, but this isn’t the kind of thing you should be doing.

Max: I’m going to fix this. You’ll wear it again.

There’s a beat as Valenti tries to think of something to say.

Max: Goodnight.

As quickly as he appeared, Max is gone.

Valenti: Yeah. Yeah, it was.

Valenti unlocks the door and steps inside.

INT. PINE CREST PSYCHIATRIC HOSPITAL – BASEMENT – NIGHT
When Isabel said it was wrong digging through people’s stuff.

Michael: We don’t have a lot to go on, here. You flashed with Laurie’s DNA in those crystals. As long as the F.B.I. is guarding her 24/7, this basement is our only resource.

Isabel: She called us aliens. I know she’s crazy, but what if they start believing her?

Michael: Then we’re screwed. Again. (Continues as aired)

*Vicki*

SKIN AND BONES

This is from the first scene. Normally I won't be typing in everything word for word, but I felt the stage directions and exact wording set the pass for this season.


INT THERAPY OFFICE – DAY

Max sits on an orange vinyl couch, silent, awkward, across from...

JOHN SHANAHAN(30’s) the therapist, nods soothingly.


JOHN
Your Parents seem concerned about Max. Deeply concerned.

Max is silent.


JOHN (cont’d)
Max. I want you to know that however unique you think your problems may be, there are millions of teenagers going through exactly what you’re going through right now. Let me assure you, this is all normal teenage....stuff . Can you try and tell me what’s been going on?

We PUSH IN on Max as he begins to speak...

MAX
Well. I guess the natural place to start is that I’ an alien. A hybrid, actually – you know, human DNA mixed with alien DNA, that kind of thing.


We are now extremely close up on Max looking back at us, he continues without apology, and we

SEE A SERIES OF IMAGES FROM SEASON 1

---POD CHAMBER (From FOUR SQUARE) young Max breaks out of his pod as young Isabel and young Michael await him.


MAX (V.O.)
Oh, I almost forgot - my sister, Isabel and our friend Michael are also aliens.


---MICHAEL, ISABEL and MAX (TBD) out in the desert


MAX (V.O. cont’d)
We didn’t know where we came from, who sent us. Or Why. For the past ten years we’ve been aging much like humans. But clearly we’re different.


---ISABEL turns mustard to ketchup.

---MAX changes sculpture.

---MAX passes VALENTI, tries to look anonymous.


MAX (V.O. cont’d)
From the beginning we had the instinct to keep this to ourselves. To hide in plain sight.


---MAX looks at LIZ in the cafe.


(V.O. cont’d)
Then one day last fall everything changed.


---A gun is fired.

---Liz falls, shot.

---Max approaches. Heals her.


(V.O. cont’d)
With a simple twist of fate. Our secret was sacrificed. We were exposed.


---Liz watches Max and Michael make a quick exit.



(V.O. cont’d)
Which admittedly had its plus sides.


---Max and Liz kiss on Liz’s rooftop.

---Michael and Maria kiss.

---Isabel and Alex laughing.


(V.O. cont’d)
The sic of us we connected by the secret we shared.


---The six of them on the rock quarry.

---TESS, with Isabel, meets Max and Michael for the first time in the Evans kitchen. (CRAZY)


(V.O. cont’d)
There was also Tess. A hybrid like us. Part human, Part alien. And then there was Nesado.


---HARDING shapeshifts out of the wall.



MAX (V.O. cont’d)
...He’s a shapeshifter. Which means he can take on any human form. A skill that could really come in handy since....


---The Special Unit Hummer shoots out the back window of the Jetta.
MAX (V.O. cont’d)
...there are people out there who would do anything to find us. And if the found us...


---Max is tortured in the White Room.


MAX (V.O. cont’d)
...there is not limit to what they would do.


---HARDING SHAPESHIFTS into Nesado Mathison.

---NASEDO MATHISON and Michael save Max from the White Room.


MAX (V.O. cont’d)
Fortunately, we used Nasedo’s abilities....


---Harding shapeshifts into Pierce.



MAX (V.O. cont’d)
To infiltrate the Special Unit of the FBI.

(beat)
Of course, we had skills of our own....


---Isabel dreamwalks Pierce

---Tess repairs the Buddha with her powers.

---Michael creates a disturbance at the Jeep.

---Michael kills Pierce.


MAX (V.O. cont’d)
And as much as we tried to convince ourselves that we could live a normal life the truth is we couldn’t/


---Pod Chamber – they activate the orbs and MOTHER appears,

we see a clip of the Mother laying out the basics of her message: Max is betrothed to Tess and Michael to Isabe, Max is their leader, evil aliens are on Earth, the kids must defeat them and return home to save their planet. (DESTINY)

---Liz walks away from Max at Vasquez Rocks.


MAX (V.O, cont’d)
But there was a price to discovering our true nature. I lost the only girl I ever loved.

------------------------------------------------------

Scottie

Wow. Vicki, those are awesome! Thanks for posting them, they make very interesting reading. I esp enjoyed the scene from Departure in which Liz tells Max about FutureMax. I've always wanted to actually hear that story related, it's always been such a disappointment that that secret was never revealed to Max. _O_WELL! [img]smilies/biggrin.gif[/img]

The one with Liz and Tess with Bruno and Joe in VLV was a hoot!